SO as far as I'm concerned, I have a definite ａｅｓｔｈｅｔｉｃ that goes into my work.

These are a few pieces I've nicked that help illustrate my design style and aesthetic.

There's a lot of emphasis on line, and direction. More than half the pictures explicitly invoke or are influenced by the same emphasis on line embodied by the Art Deco movement, and the others (particularly Megaman Zero, Samurai Jack, and Tengen Toppa Gurren Lagann) have an emphasis on motion. Leiji's Space Battleship Yamato less so, but it's present in the design of the eponymous warship.

I grew up as a fairly priveleged kid in suburban New Jersey, on top of which, I was an unassuming and rather timid kid with weird interests. Interests which eventually manifested themselves as 'dude likes big animal people'. But my fascination there even ties into the line-motion aesthetic of the above, as I've often described macro as the leyline i tap into to channel 'a time long past, when the map was filled with places named Here Be Dragons and giants walked among us in the imagination. A time which could be again.'
Growing up left me more than a bit fearful of people who would judge you, violently, for having other interests. I desired never to let those people have the power of fear over me again.

At the same time, it also allowed me to nurture a certain optimism with which I view the world today, keep it alive and most of all, to help me turn it into a tool with which I could help people.
Over time, and as the world has grown more chaotic in the throes of post-modernist back-and-forth squawking about the nature of truth, I've tried to solidify my aesthetic as one that embraces the great evils and the gritty reality of our life situations (which is why I picked the Samurai Jack and Batman TAS screens first and foremost) while acknowledging that the heights to which The Rocketeer and the soaring, reality-defying architecture and sculpture of the Orokin reach are still attainable and still worth pursuing, even in the face of such tremendous and terrible adversity. I want it to be a return-to-form of Modernism while learning the lessons of the 20th century that Modernist movements like Art Deco inflicted.

My optimism is a part of my art and my art is optimistic in nature, even in the midst of my grief. It's my distinct desire to instill via my artwork the same powerful desire to want more in all of us, to be the place where the falling angel meets the rising ape, to dare to believe you can survive. Life is constant motion, our dreams elevate us above these mere shells of flesh and bone.

Luminous beings are we, not this crude matter.

I believe to the day I die in the rich and boundless goodness of which humankind is capable.
Even, and especially, in its' darkest hours.

It is my sincere wish and deepest hope that you'll join me in making a better world.